This violin is labeled Deena Zalkind Spear “Meredith” 1987.
This violin is labeled Edwards Campbell, Boiling Springs, PA 1974, #146.
This violin was made by Wagner & George in Chicago, circa 1925. It is accompanied by a Bein & Fushi certificate of authenticity.
This violin is made by and labeled Robert Wood, Takoma Park, MD 2021. It is available for home trial via shipping or by appointment at our Takoma Park flagship store.
This violin is made by and labeled Nicholas P. Allen, Pittsburgh 2021. It’s available for home trial via shipping or by appointment at our Takoma Park flagship store.
This violin was made by and labeled Christopher Jacoby, Auburn, NE, 2017.
Christopher Jacoby is a violinmaker. After attending the Violin Making School of America, he started his training doing restoration under Peter Prier next door. There, and in museums and collections the next twenty years, he has handled and studied the instruments of the great masters. Christopher has built instruments for discerning professionals around the world, and continues to do so while heading the workshop at Potter Violins.
This violin is labeled Michael Weller, 1980.
Michael Weller was born in the Netherlands and trained in violin making at the Mittenwald School in Germany, graduating in 1971. Upon graduation, he moved to the United States to work for Hans Weisshaar in California until 1973. He was head of workshop at William Moennig & Son, Ltd. in Philadelphia until 1977, the year he established his own restoration business, Weller Violins, in Swarthmore, PA. He moved to the Washington, DC area in 1997, sharing a workshop with bow maker and restorer Donald Cohen for over a decade. In 2017, he moved his business to Bethesda, MD, operating from the Violin House of Weaver until his retirement in 2020.
Kristin Siegfried Ballenger is a Boston based Violin Maker and former Instructor at the Chicago School of Violin Making. She is a graduate of the Chicago School of Violin Making as well as Illinois Wesleyan University. While still in school at CSVM she began working for Peter Seman at Seman Violins, where she continued after graduation. In 2019 she began as instructor at the Chicago School of Violin Making along side Executive Director Antoine Nédélec.
As a participant in the Oberlin Violin Makers and Restorers workshops, she continues to pursue new techniques while continually refining her craft.
Her instruments have been represented by Indianapolis Violins, McLaughlin Violins, Reed Yeboah Fine Violins, Seman Violins, Grand Rapids Violins, Carriage House Violins, and House of Note. She has also participated in exhibits by the Violin Society of America, Celebrating Women Luthiers, and the Contemporary Violin and Bow Makers Exhibition
Kristin is a Board Member of the Violin Society of America, and has served on committees for the American Federation of Violin and Bow Makers.
This violin is available for trial and viewing in our showroom.
Dutch violin Maker, Marten Cornelissen, started his education studying engineering. This led to a natural curiosity in the construction of stringed instruments, and he studied violin making in the Czech Republic. He eventually moved to Northampton, Massachusetts where he lives today. Cornelissen’s instruments are found in the hands of noted professionals around the world, and we are proud to offer this example from 1974. Available for trial in our showroom or via shipping.
Violin labeled William RObert Scott, Minneapolis 1986
William Robert Scott began Scott Violins in 1985 and joined Scott Studios, Inc. in2005, founded by his wife, Susan Scott. His interest in violin-making began in 1970 when he met Martin Bielke, a well-known bow-maker and repairman in the ‘60s and ‘70s. Bill Scott completed his first violin through book knowledge (You Can Make a Stradivarius by Joseph Reid) and worked at Dahl Violin Shop in Minneapolis from 1977–1983. Attending his first VSA (Violin Society of America) Competition in 1980 at Hofstra University, New York he met Mr. Hans Weisshaar and in 1984 began working at the shop of Hans Weisshaar, Inc. in Los Angeles. Bill quickly gained access to great instruments of the classic masters and this apprenticeship helped him develop an eye for the important nuances of quality seen in these works. Repairing and studying these fine instruments for the next couple years opened a new world of great beauty and craft which he has tried to capture since.
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